Shadowplay: The Hidden Beliefs and Coded Politics of William Shakespeare (2006) by Clare Asquith
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This book is a revelatory new look at how Shakespeare secretly addressed the most profound political issues of his day, and how his plays embody a hidden history of England. In Elizabethan England many loyal subjects to the crown were asked to make a near impossible choice: to follow the dictates of the State, or their conscience. Four hundred years removed from the English Reformation, it is nearly impossible for us to know what it must have been like for the country to have been ripped asunder and subjects actively persecuted, or even tortured and killed, for their religious beliefs. The era was one of unprecedented authoritarianism: England, it seemed, had become a state dependent on espionage, fearful of threats from abroad and plotters at home. This age of terror was also the era we know as an artistic ‘golden age’ with the greatest creative genius the world had ever known, William Shakespeare. How, then, could such a remarkable man born into such volatile times apparently make no comment about the state of England in his work? He did. But it was hidden. Why? There were sound reasons for not addressing political events directly. Two of his most gifted contemporaries, Kyd and Marlowe did not fare as well. Kyd died after undergoing torture, and Marlowe was almost certainly murdered at the instigation of government.
Revealing Shakespeare’s sophisticated version of a forgotten code developed by 16th-century Catholic dissidents, Clare Asquith shows how Shakespeare was both a genius for all time and utterly a man of his own era, a writer who was supported by dissident Catholic aristocrats, who agonized about the fate of England’s spiritual and political life and who used the popular playhouses to attack and expose a regime which they believed had seized control of the country they loved. Shakespeare’s plays offer an acute insight into the politics and personalities of his era, as well as reflecting the feelings and beliefs of ordinary people. For example Hamlet, interpreted here as a drama of the hesitancy and indecision of the Catholic party in the country, is modelled on Sir Philip Sidney, who was outwardly Protestant but secretly a Catholic sympathiser. Of course there are many candidates for the model of Hamlet; such boldness in identification here simply underlines her own belief in this theory..